Music Program

Friday, May 6, 2005 — Saturday, May 7, 2005

Free admission

Co-sponsored/co-presented by:
JazzBECHS, Resurrection Music

Peter Brötzmann's Chicago Tentet


Presented at:
Buffalo and Erie County Historical Society

Peter Brötzmann (tenor sax, taragato, clarinet)
Ken Vandermark (tenor sax, bass clarinet)
Mats Gustaffson (baritone/tenor sax)
Magnus Broo (trumpet)
Joe McPhee (trumpet/valve trombone)
Per-Ake Holmlander (tuba)
Fred Lonberg-Holm (cello)
Kent Kessler (contrabass)
Michael Zerang (drums)
Paal Nilssen-Love (drums)

That’s right! Hallwalls and Resurrection Music join forces with the Buffalo and Erie County Historical Society to present two nights of Brötzmann’s colossal big band of Chicago music stalwarts and international troubadours known as the Chicago Tentet. Peter Brötzmann has led a number of internationally renowned, large group, improvising ensembles since the late 1960's. The latest, called the "Chicago Tentet," is one of the best. All in all, the Chicago Tentet is a veritable "Who's Who" of the contemporary improvising scene's cutting edge. Though the group is clearly directed by Brötzmann and guided by his aesthetics, he has been committed to utilizing the compositions of other members in the ensemble since its beginning. This has allowed the band to explore an exceptional range of structural and improvising tactics: from the conductions of Mats Gustafsson and Fred Lonberg-Holm, to the vamp pieces of Michael Zerang and Hamid Drake, to compositions using conventional notation by Ken Vandermark and Mars Williams, to Brötzmann's graphic scores. The group employs almost every contemporary approach to composing and organizing music for an improvising unit. This diversity in compositional style, plus the variety in individual approaches to improvisation represented by the various members of the band, has led the Tentet towards an extremely multifaceted direction in music. As the group moves from piece to piece during a performance, it explores intensities that range from spare introspection to all out walls of sound, and rhythms that are open or free from a steady pulse to those of hitting a hard groove. However, since the late 1990's, the main work of the Peter Brötzmann Chicago Tentet has been done in concert, on the road in both Europe and in North America, including two tours on that continent which took place in 2000 and 2002.

The year 2004 introduced new personnel - Hamid Drake and Mars Williams left the band and Norwegian percussionist Paal Nilssen-Love was brought in. The "10th chair" has been left open for guest artists. In May of 2005 the guest chair will feature by Swedish trumpeter Magnus Broo for the Tentet's biennial tour of North America. Though the economics of sustaining a large band are difficult, it's clear that the Chicago Tentet have found ways to continue performing their music around the world since their first meeting in the winter of 1997. Through those efforts they've been able to develop an ensemble with a sound and depth of communication impossible to find in any other band, no matter size or style, currently working in the international contemporary music scene. The ongoing creative intensity of Peter Brötzmann and the Chicago Tentet stems from the fact that they continue to ask, "What's next?" They look for an answer to this question every time they perform.

For their two nights of music in Buffalo, The Tentet will perform in various small group formations on Friday and as the complete Tentet on Saturday.

For more info and links related to Brötzmann check out:

Some publications related to this event:
April and May, 2005. - 2005

t: 716-854-1694
f: 716-854-1696

Tues.—Fri. 11-6
Sat. 11-2
Sun. & Mon. closed

from Jan. 10, 2020
through Feb. 28, 2020

Sarah Sutton
Knots and Pulses

This exhibition by Ithaca-area artist Sarah Sutton features a series of monochromatic oil paintings that combine representational imagery with distortions and abstractions that create scenarios in flux. They are essentially landscape paintings, but Sutton's treatment of the landscape toys with its sense of space and the notion of the built vs. the natural environment.

Katie Bell
Abstract Cabinet

Katie Bell’s exhibition is a site-specific installation conceived of as a one-act drama starring anonymous artifacts. Functioning like a theatrical set, the gallery holds static characters that reference the interior architecture of corporate and commercial spaces. Sculptural objects are often fractured or untethered to a contextual structure. Functioning as a whole, the individual artefacts are a nod to players on a stage, held captive in space and time.